California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2007 Multiplicity and gendering the Holy Grail in The Da Vinci Code and the Mists of Avalon Victoria Anne Villasenor-Oldham Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the English Language and Literature Commons, and the Women's Studies Commons Recommended Citation Villasenor-Oldham, Victoria Anne, "Multiplicity and gendering the Holy Grail in The Da Vinci Code and the Mists of Avalon" (2007). Theses Digitization Project. 3237. https://scholarworks.lib.csusb.edu/etd-project/3237 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. MULTIPLICITY AND GENDERING THE HOLY GRAIL IN THE DA VINCI CODE AND THE MISTS OF AVALON A Thesis Presented to the Faculty of California State University,. San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Victoria Anne Villasenor-Oldham September 2007 MULTIPLICITY AND GENDERING THE HOLY GRAIL IN THE DA VINCI CODE AND THE MISTS OF AVALON A Thesis Presented to the Faculty of California State University, San Bernardino by Victoria Anne Villasenor-Oldham September 2007 Approved by: 6 /fife Date Ron Chen © 2007 Victoria Anne Villasenor-Oldham ABSTRACT Both The Mists of Avalon by Marion Zimmer Bradley (1983) and The Da Vinci Code by Dan Brown (2003) famously attempt to reinvent gender roles. While the texts' popular appeal may support the success of the attempts, some compelling criticism has also shown the ways in which these novels re-inscribe the very gender roles they attempt to reinvent. However, even this criticism has not focused on one particularly problematic, and uniquely gendered, trope shared by both novels: the holy grail. This thesis will explore how both texts write femininity onto the holy grail in seemingly problematic ways, and the ways in which women's voices, through the feminization of the grail, are often silenced. Three postmodern theorists, Deleuze, Guattari, and Irigaray, contribute theoretical lenses that illuminate the complicated relationship between the grail, silence, the maternal, and indeed, the grail of gender. That is, reading these theorists alongside these novels illuminates gender not as (to use Delueze and Guattari's terminology) a "root," but rather, a "rhizome." The rhizome suggests that gender within these texts cannot be placed into a dichotomous binary (male/female), but rather occupies several categories at once, a "multiplicity." iii This less rigid conception allows the rhizome of- gender representations to explode in new directions, providing larger possibilities for change. Further, as both novels seek to rewrite, reinterpret and revalue the gender roles of mythological women, (Morgan le Fey and Mary Magdalene) an intertextual analysis allows a deeper understanding of the implications of gender roles within two popular texts in the contemporary literary cannon. iv ACKNOWLEDGEMENTS I would like to thank my chair, Julie Paegle, for all of her time, patience, and brilliant insight, and for her amazing ability to get out of me the words and ideas I could not articulate myself. I would also like to thank my second reader, Kim Costino, for her patience, phenomenal sense of humor and writing advice. Thank you both for your encouragement and for sharing your genius. I am humbled to have learned from you. v To Sam You are my muse. TABLE OF CONTENTS ABSTRACT. ..................................... iii ACKNOWLEDGEMENTS........................... V CHAPTER ONE: ORIGINS................................ 1 CHAPTER TWO: FADING INTO THE MISTS................... 28 The Silence of the Feminine Holy Grail........ 30 The Silent and Eternal Grail of the Maternal and the Rhizome...................... 4 5 The Living Grail of Gender.................... 52 Conclusion ................ ........ 63 CHAPTER THREE: CODES WRAPPED IN SILENCE .......... 66 A Web of Literary Shoots...................... 68 The Grail of Gender........ .......... 81 The Matrilineal Nature of Multiplicity and the Rhizome........... 91 Conclusion.................................... 96 CHAPTER FOUR: IN THE END IS THE BEGINNING.......... 98 WORKS CITED ..................... Ill vi CHAPTER ONE ORIGINS And only the limiting effect of time can make us stop speaking to each other. —Irigaray, This Sex 217 In 1983, Marion Zimmer Bradley published The Mists of Avalon, a watershed novel reinterpreting the Arthurian legends from a female perspective. Twenty years later, in 2003, Dan Brown published The Da Vinci Code, a fictional reinterpretation of biblical mythologies concerning the "sacred feminine." These texts share in common an interest in reevaluating mythological female characters and their prescribed gender roles. In particular, these texts seek to reinterpret and recontextualize the mythological "holy grail" through themes of matrilineage and silence. Despite worthwhile elements of their revisionist attempts an unfortunate consequence is the texts' reinsertion of the feminine as quest. This thesis will explore how both texts write femininity onto the Holy grail in problematic ways, and I will argue that while these texts attempt revisionist 1 gender roles, instead, through-the use of the•themes of silence and matrilineage, they end up reinscribing "normative" gender roles, problematizing the actual revisionist ideals intended by the authors, while at the same time allowing the complex "voice" of matrilineage and a feminine grail to survive through the theme of silence. Two postmodern theories, the rhizome theory of Gilles Deleuze and Felix Guattari, and Luce Irigaray's feminist concepts of multiplicity and silence, contribute lenses that illuminate the complicated relationship between the grail and gender and indeed, the grail of gender. That is, reading these theorists alongside these novels illuminates gender not as (to use Delueze and Guattari's famous terminology) a "root," but rather a "rhizome." The rhizome suggests that gender within these texts cannot be placed into a dichotomous binary (male/female), but rather occupies several categories at once. This less rigid conception allows the rhizome of gender representations to explode in new directions, providing larger possibilities for change. Likewise, Irigaray posits the idea that binaries of gender create misunderstanding and chaos, while the understanding of a multiplicity, of both genders relating through language and neither submitting to the 2 other, could propagate healthier relationships among humans, regardless of gender. Therefore, theories of the rhizome and gender multiplicity work in conjunction to explain new possibilities within complex gender functions, and, as both The Mists and The Code seek to rewrite, reinterpret and revalue the gender roles of mythological women, (primarily Mary Magdalene and Morgan Le Fey), an intertextual analysis of gender representation using these theories enables a deeper understanding of the production and consumption of gender roles within two phenomenally popular texts in the contemporary literary canon. Brief summaries of the texts as well as the scholarship dedicated to them reveal their shared revisionist goals and facilitate the development of the vocabulary of silence and matrilineage useful for my analysis. I will start with the older novel, The Mists of Avalon (hereafter Mists) as it was one of the first texts to use a reinterpretation of gender roles to develop new possibilities of women's voice within the Arthurian myth.1 1 The Mists of Avalon, as an extensive, complex, and long novel, will require a more lengthy summary than will Dan Brown's The Da Vinci Code, since it is substantially shorter, although still complex in its gender depictions. Moreover, the way in which the grail, matrilineage and silence weave together through The Mists' multiple plots 3 The Mists is a revisionist story of the legend of- Avalon and Camelot, told from the female'characters' perspectives. The premise'is that Avalon is beginning to recede from the world due to a lack of believers/followers of the matriarchal, goddess-worshiping faith they follow on the island. In order to prevent this from happening, the Lady of Avalon, Viviane, bestows on King Arthur the Sword of, the Holy Regalia, in return for his vows to rule beside, not over, those people of Avalon. Surrounding the overlying issue of Arthurian rule is that of a newly emerging patriarchal religion, a matrilineal religion in decline, and the silencing of women that forms from the division. In ways that will become clear, these themes of matrilineage and silence ultimately "gender the grail." Bradley tells the story of Morgaine, (or Morgan Le Faye in Mallory's version), and how she came to be the Priestess of Avalon who eventually feels it necessary to wrest control of the British kingdom from her half-brother, Arthur. Bradley's Arthur has turned his back on the vows he made to the "ancient Isle of Avalon" upon being made king. Entwined in this narrative are the stories of Morgaine's demands, more detailed summary than does the more singular plot of The Code. 4 grandmother, (Viviane) mother, (Igraine) and aunt . (Morgause). Viviane is the Lady of the Lake, the high priestess of Avalon who attempts to prevent the island